Interdisciplinary Italy 1900-2020: Interart/Intermedia

自20世纪初以来，意大利的艺术迅速发展出混合形式。电影、数字视觉诗歌、声音艺术、电影书籍预告片和其他跨艺术和媒体的实践，已经成为一股重要的文化力量。艺术家们以惊人的流动性在不同的艺术形式之间转换：例如，迪诺·布扎蒂（Dino Buzzati）既写小说，也设计插图；诗人爱德华多·桑吉内蒂将他的诗歌追溯到无调性音乐。直到最近，这种艺术间的流动性一直是艺术家的特权。研究人员与这种文化转变背道而驰，根据我们自己的学科（文学、艺术、音乐等）分析文化产品。这样做，我们冒着忽视范式转变的风险，在学科之间的差距中失去混合艺术形式——在那里它们只得到边缘处理——并且低估了一种艺术对另一种艺术的价值。然而，随着跨学科方法的发展，研究人员现在发现自己处于一个新的历史优势。我们终于有可能在艺术上建立一个开创性的跨艺术视角。拟议的项目描绘了20世纪和21世纪意大利的范式转变。它是一个有趣的案例研究。关键的研究问题是：(1)为什么跨艺术实践在20世纪和21世纪发生了如此显著的变化？我们的项目描绘了意大利全新的跨艺术文化历史。它将回答这样的问题：为什么跨艺术和中间实践在这个时候出现在意大利？期刊、咖啡、印刷、数字技术等在发展中扮演什么角色？我们的回应超越了单一学科研究的狭隘焦点，揭示了艺术间接触和新型实验的更全面的图景。我们挑战和修正文化中心和边缘的既定观念，将注意力集中在积极参与创造性跨越的个人和群体以及促进或阻碍艺术间交流的机构上。我们的项目引入了一个新的和原创的焦点：我们试图研究多学科方法如何颠覆被广泛接受的经典；在单学科显微镜下看起来是中心的东西，在跨艺术的显微镜下可能不是这样。(2)为什么前卫和激进的艺术家在20世纪和21世纪的意大利会批判和超越艺术的界限？这对创造力有什么影响？自20世纪初以来，艺术间的实践在不确定和激进的社会变革时期是显而易见的，经常与先锋派联系在一起。在政治和文化传统受到挑战的地方，尤其是受到活动人士挑战的地方，它似乎出现得最为强烈。我们项目探索的第一个领域是跨艺术和中间创意的越界本质。(3)为了讨论混合文化对象和前卫跨艺术实践，我们需要发展哪些理论？我们将形成一种理论论述，以促进跨艺术和媒体的新研究，并为我们自己的项目所做的工作奠定基础。这将突出跨艺术创造力的社会、创造性和心理动态，而不是学科领域的要求和限制。输出是：20世纪和21世纪意大利的两个新的艺术间文化史（一个专门关于数字时代）；为更广泛的知识界提供艺术间研究的理论专著；文章;为学校提供的跨艺术/中级教学材料样本；一个跨艺术展览和目录。我们将为研究生和博士后、学者、博物馆馆长和学校教师举办专门的活动。这些目标是告知关于跨艺术实践的想法，并授权这些群体以理论上知情的方式工作，关于跨艺术实践的文章。

Since the start of the 20th century, the arts in Italy have rapidly developed hybrid forms. Cinema, digital visual poetry, sound art, filmed book trailers and other practices which cross arts and media and have become a major cultural force. Artists are shifting between different art forms with a fluidity which is striking: Dino Buzzati, for instance, writes novels, but also designs their illustrations; the poet Eduoardo Sanguineti traces his poetry back to atonal music. Until very recently this interartistic fluidity has been the prerogative of artists. Researchers worked against the grain of this cultural shift, analysing cultural products according to our own disciplines (literature, art, music etc.). In so doing, we risked overlooking a paradigm shift, losing hybrid art forms in the gaps between disciplines - where they receive only marginal treatment - and underestimating the value of one art for another. As interdisciplinary methodologies develop, however, researchers now find themselves at a new historical vantagepoint. It is finally possible to build a groundbreaking interartistic perspective on the arts. The proposed project maps the paradigm shift in 20th and 21st century Italy. It acts as an intriguing case study. The key research questions are: (1) Why has interartistic practice changed so markedly over the course of 20th and 21st century? Our project maps a fresh interartistic cultural history of Italy. It will answer questions like: Why did interartistic and intermedial practice occur in Italy at this time? What part do journals, cafés, printing, digital technology, etc. play in development? Our response goes beyond the narrow focus of monodisciplinary research to reveal a more comprehensive picture of interartistic encounters and new kinds of experimentation. We challenge and amend established ideas of cultural centres and peripheries, to focus attention on individuals and groups who are actively engaged in creative boundary-crossing and on institutions who fostered or hindered interartistic exchange. Our project introduces a new and original focal point: we seek to examine how a multidisciplinary approach subverts widely accepted canons; what looks central under the lens of the monodisciplinary microscope may not be so from an interartistic one. (2) Why have avant-garde and activist artists critiqued and transgressed the boundaries between the arts in 20th and 21st century Italy? What effect has this had on creativity? Since the beginning of the twentieth century, interartistic practice has been palpable in periods of uncertainty and radical social change, frequently associated with the avant-garde. It also appears to have emerged most strongly where political and cultural conventions are challenged, especially by activists. The first area our project explores is the transgressive nature of interartistic and intermedial creativity. (3) What theories do we need to develop in order to discuss hybrid cultural objects and avant-garde interartistic practice? We will fashion a theoretical discourse to facilitate new research across the arts and media and underpin work done in our own project. This will highlight the social, creative and psychological dynamics of interartistic creativity, rather than the demands and constraints of disciplinary fields. Outputs are: Two new interartistic cultural histories of 20th and 21st century Italy (one specifically on the digital age); a theoretically focused book on interartistic research for a broader intellectual community; articles; sample interartistic/intermedial teaching material for schools; an interartistic exhibition and catalogue.We will develop dedicated events for postgraduates and postdocs, academics, museum curators and schoolteachers. These are targeted at informing ideas about interartistic practice and empowering those cohorts to work, in a theoretically informed way, on interartistic practice articles.